On this episode of the Colorist Podcast, I continue the conversation with Director, Writer, and Colorist, Alexis Van Hurkman.

In the last episode, I talked with Alexis about how he got his start in post, his experience at Apple, and starting his own boutique grading facility. There was so much great conversation in the podcast that I needed to break it into two separate shows.

In this episode, we dive deeper into the tech side of grading. In the last five years, there’s been dramatic changes in color technology. High Dynamic Range (HDR) is making it’s way into the mainstream, and color managed workflows are improving with each day. And with that “bigger box of crayons,” we have more options when creating looks. The creative and the technical elements in grading are closely linked.

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the Colorist Podcast, I continue the conversation with Director, Writer, and Colorist, Alexis Van Hurkman.

In the last episode, I talked with Alexis about how he got his start in post, his experience at Apple, and starting his own boutique grading facility. There was so much great conversation in the podcast that I needed to break it into two separate shows.

In this episode, we dive deeper into the tech side of grading. In the last five years, there’s been dramatic changes in color technology. High Dynamic Range (HDR) is making it’s way into the mainstream, and color managed workflows are improving with each day. And with that “bigger box of crayons,” we have more options when creating looks. The creative and the technical elements in grading are closely linked.

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>36:49yesOn this episode of the Colorist Podcast, I continue the conversation with Director, Writer, and Colorist, Alexis Van Hurkman.
In this episode, we dive deeper into the tech side of grading. In the last five years, there’s been dramatic changes in color technology. High Dynamic Range (HDR) is making it’s way into the mainstream, and color managed workflows are improving with each day. And with that “bigger box of crayons,” we have more options when creating looks. 16fullJosh PetokEpisode 015: Alexis Van HurkmanEpisode 015: Alexis Van HurkmanFri, 18 Aug 2017 06:54:34 +0000This episode is sponsored by Colorist Society International and Mixinglight.com.

Director, writer, and colorist, Alexis Van Hurkman joins me on this episode of the Colorist Podcast.

There’s been many twists and turns in the career of Alexis Van Hurkman. He bounced around from audio, editorial, graphics, and visual effects. Ultimately, each of those steps in his journey contributed to his skills as a colorist. Along with grading his own projects, he’s finished programs for The History Channel, The Learning Channel, BBC Four, and WNET.

Many listeners will recognize Alexis’s book titles, “The Color Correction Handbook” and “The Color Correction Look Book,” as well as the manuals for Apple Color, Final Cut Pro, and DaVinci Resolve. He’s also created several training titles with Ripple Training, featuring the newest features in Resolve.

This epic podcast was one of the longest I’ve recorded yet. So long, in fact, that I’ve decided to split it up into two separate episodes. There’s a ton of great info and I didn’t want to lose any of it.

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

Director, writer, and colorist, Alexis Van Hurkman joins me on this episode of the Colorist Podcast.

There’s been many twists and turns in the career of Alexis Van Hurkman. He bounced around from audio, editorial, graphics, and visual effects. Ultimately, each of those steps in his journey contributed to his skills as a colorist. Along with grading his own projects, he’s finished programs for The History Channel, The Learning Channel, BBC Four, and WNET.

Many listeners will recognize Alexis’s book titles, “The Color Correction Handbook” and “The Color Correction Look Book,” as well as the manuals for Apple Color, Final Cut Pro, and DaVinci Resolve. He’s also created several training titles with Ripple Training, featuring the newest features in Resolve.

This epic podcast was one of the longest I’ve recorded yet. So long, in fact, that I’ve decided to split it up into two separate episodes. There’s a ton of great info and I didn’t want to lose any of it.

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>35:13yesDirector, writer, and colorist, Alexis Van Hurkman joins me on this episode of the Colorist Podcast.
There’s been many twists and turns in the career of Alexis Van Hurkman. He bounced around from audio, editorial, graphics, and visual effects. Ultimately, each of those steps in his journey contributed to his skills as a colorist. Along with grading his own projects, he’s finished programs for The History Channel, The Learning Channel, BBC Four, and WNET.15fullJosh PetokEpisode 014: Juan Ignacio Cabrera, CSIFri, 14 Jul 2017 05:38:59 +0000This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the Colorist Podcast, I talk with Juan Ignacio Cabrera, CSI. Juan has worked on the films Star Wars: The Force Awakens, Star Trek: Into Darkness, and Transformers: Age of Extinction. He’s been credited as a stereographer, colorist, compositor, and visual effects supervisor.

Juan got his start in the visual effects industry in Spain, starting his own business at 17 years old. He later moved to the US and was hired at Bad Robot and Paramount Pictures. Currently, he runs his own boutique facility, Lightbender Post, as Founder and Senior Colorist. His projects span everything from features, television, streaming, and video games.

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the Colorist Podcast, I talk with Juan Ignacio Cabrera, CSI. Juan has worked on the films Star Wars: The Force Awakens, Star Trek: Into Darkness, and Transformers: Age of Extinction. He’s been credited as a stereographer, colorist, compositor, and visual effects supervisor.

Juan got his start in the visual effects industry in Spain, starting his own business at 17 years old. He later moved to the US and was hired at Bad Robot and Paramount Pictures. Currently, he runs his own boutique facility, Lightbender Post, as Founder and Senior Colorist. His projects span everything from features, television, streaming, and video games.

Vanessa Taylor, freelance colorist for the films The Great Gatsby and Lady Macbeth, joins me on this episode of the Colorist Podcast.

Vanesa has over 20 years experience in the industry. She got her start working at Animal Logic, working on the Quantel Henry as an Online Editor. After that, she moved on to the DI department at Park Road Post.

She’s worked on projects from Joss Whedon, Baz Luhrmann and Peter Jackson. She’s based out of the UK, but travels worldwide to work on a variety of different independent films.

On this podcast, we talk about:

Her experience with Quantel Henry, Pablo, eQ and iQ served as a basis for her career

How she moved on to Park Road Post

Knowing when to do a visual effects shot in a color grading application

Working on a big budget feature film and where your contribution can fit it

Learning several color systems

Balancing the tech and art of color grading

HDR and what it means creativity for colorists

Working in other countries and their perceptions of color

Running a session and how to keep it flowing

The lowering cost of color grading systems and what it means for working colorists today

The formation of the colorist society and how we benefit from joining together

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

Vanessa Taylor, freelance colorist for the films The Great Gatsby and Lady Macbeth, joins me on this episode of the Colorist Podcast.

Vanesa has over 20 years experience in the industry. She got her start working at Animal Logic, working on the Quantel Henry as an Online Editor. After that, she moved on to the DI department at Park Road Post.

She’s worked on projects from Joss Whedon, Baz Luhrmann and Peter Jackson. She’s based out of the UK, but travels worldwide to work on a variety of different independent films.

On this podcast, we talk about:

Her experience with Quantel Henry, Pablo, eQ and iQ served as a basis for her career

How she moved on to Park Road Post

Knowing when to do a visual effects shot in a color grading application

Working on a big budget feature film and where your contribution can fit it

Learning several color systems

Balancing the tech and art of color grading

HDR and what it means creativity for colorists

Working in other countries and their perceptions of color

Running a session and how to keep it flowing

The lowering cost of color grading systems and what it means for working colorists today

The formation of the colorist society and how we benefit from joining together

On this episode of the Colorist Podcast, I talk with Adam Inglis, colorist for feature films Sherlock Holmes, Alien Vs Predator, and Mr. Turner.

Adam was one of the first users of Baselight, when it was previously known as “Film Grader.” It was used internally at CFC in London when finishing the claymation feature Chicken Run.

Currently, his work can be seen on the BBC Documentary series Planet Earth II. Shot with several different cameras in only natural light, the show puts the viewer in amazing landscapes with vibrant colored animals.

On this episode, we talk about:

His editorial background and getting his start at the Computer Film Company (CFC)

Comparing working at a facility, starting your own shop, and working freelance

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the Colorist Podcast, I talk with Adam Inglis, colorist for feature films Sherlock Holmes, Alien Vs Predator, and Mr. Turner.

Adam was one of the first users of Baselight, when it was previously known as “Film Grader.” It was used internally at CFC in London when finishing the claymation feature Chicken Run.

Currently, his work can be seen on the BBC Documentary series Planet Earth II. Shot with several different cameras in only natural light, the show puts the viewer in amazing landscapes with vibrant colored animals.

On this episode, we talk about:

His editorial background and getting his start at the Computer Film Company (CFC)

Comparing working at a facility, starting your own shop, and working freelance

On this episode of the colorist podcast, we’re trying something a little different. We take a break from talking with a colorist to focus on something quite a bit more technical. Dave Abrams, monitor calibrator and owner of Avical, joins me on this episode. It’s about to get seriously geeky, and in the best possible way :)

Dave has been calibrating monitors for over seventeen years. He’s been through the transitions from SD to HD, tape and film to file based, and now 4K and HDR. Post facilities from all over the world rely on his expertise and knowledge of monitors to get the most consistent and accurate monitoring possible. High end home theater owners also use his services to get great looking images at home. And seeing both sides of each situation gives him a great perspective on the industry as a whole.

On this podcast, we talk about:

How HDR is changing the approach to calibration

The differences between calibrating by the numbers and when to go with your instincts

The HP Dreamcolor, Eizo, and other computer monitors for color critical evaluation

Room lighting considerations when setting up a grading room

Comparing OLED, plasma, LCD monitors

Considerations for large size client monitors used in combination with hero monitors

Projects that are destined for web distribution and how to monitor for them

Where the future is going for monitoring and what they still are lacking

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the colorist podcast, we’re trying something a little different. We take a break from talking with a colorist to focus on something quite a bit more technical. Dave Abrams, monitor calibrator and owner of Avical, joins me on this episode. It’s about to get seriously geeky, and in the best possible way :)

Dave has been calibrating monitors for over seventeen years. He’s been through the transitions from SD to HD, tape and film to file based, and now 4K and HDR. Post facilities from all over the world rely on his expertise and knowledge of monitors to get the most consistent and accurate monitoring possible. High end home theater owners also use his services to get great looking images at home. And seeing both sides of each situation gives him a great perspective on the industry as a whole.

On this podcast, we talk about:

How HDR is changing the approach to calibration

The differences between calibrating by the numbers and when to go with your instincts

The HP Dreamcolor, Eizo, and other computer monitors for color critical evaluation

Room lighting considerations when setting up a grading room

Comparing OLED, plasma, LCD monitors

Considerations for large size client monitors used in combination with hero monitors

Projects that are destined for web distribution and how to monitor for them

Where the future is going for monitoring and what they still are lacking

Use the coupon code “josh15” for 15% off the first term of any Premium Color library subscription.

]]>48:43cleanGear Review: Blackmagic Design DaVinci Resolve Mini PanelTue, 21 Mar 2017 18:04:39 +0000In this video, I give my impression of the new Blackmagic Design DaVinci Resolve Mini Panel. This new panel was released about 3 weeks ago and it's a significant change from their massive "Advanced" panel in size and in price. I found plenty of things to be excited about with the panel, as well as some things I was missing.

This review would not be possible without the support from Melrose Mac. If you're in the Los Angeles area, I'd highly recommend checking out a panel there.

]]>In this video, I give my impression of the new Blackmagic Design DaVinci Resolve Mini Panel. This new panel was released about 3 weeks ago and it's a significant change from their massive "Advanced" panel in size and in price. I found plenty of things to be excited about with the panel, as well as some things I was missing.

This review would not be possible without the support from Melrose Mac. If you're in the Los Angeles area, I'd highly recommend checking out a panel there.

Veteran colorist and ICA instructor Warren Eagles joins me on this episode of the Colorist Podcast.

Warren has been coloring for over 26 years. He’s graded a broad spectrum of projects from commercials, drama, and features. He’s best known for his work on Lock, Stock, and 2 Smoking Barrels, and recently has colored two indie features: Blue World Order and Project Eden: Vol 1.

I first came in contact with Warren 10 years ago when he created an FXPHD class for the da Vinci 2K plus. He drew back the curtain to the expensive color grading rooms that were almost impossible to gain access to. Fast forward to today, and Warren is still empowering his students with the knowledge to color through his own endeavor, the International Colorist Academy. Partnering with Kevin Shaw, they created a worldwide training program for colorists, by colorists.

On this podcast, we talk about:

His start in telecine and how it formed his grading style

How daVinci systems have changed over the years

Features that are still lacking from color grading systems

Doing visual effects work as part of the color grade

How color grading panels speed up his work

Impressions of the new Blackmagic Mini and Micro Resolve Panels

The differences in workflow with commercial, television and feature work

Keeping your clients happy and the session flowing

Making and keeping solid connections with DPs

Why the Colorist Society International is an important part of our community

His perspective on the reduced price of grading systems and its effect on the post production industry

Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

Veteran colorist and ICA instructor Warren Eagles joins me on this episode of the Colorist Podcast.

Warren has been coloring for over 26 years. He’s graded a broad spectrum of projects from commercials, drama, and features. He’s best known for his work on Lock, Stock, and 2 Smoking Barrels, and recently has colored two indie features: Blue World Order and Project Eden: Vol 1.

I first came in contact with Warren 10 years ago when he created an FXPHD class for the da Vinci 2K plus. He drew back the curtain to the expensive color grading rooms that were almost impossible to gain access to. Fast forward to today, and Warren is still empowering his students with the knowledge to color through his own endeavor, the International Colorist Academy. Partnering with Kevin Shaw, they created a worldwide training program for colorists, by colorists.

On this podcast, we talk about:

His start in telecine and how it formed his grading style

How daVinci systems have changed over the years

Features that are still lacking from color grading systems

Doing visual effects work as part of the color grade

How color grading panels speed up his work

Impressions of the new Blackmagic Mini and Micro Resolve Panels

The differences in workflow with commercial, television and feature work

Keeping your clients happy and the session flowing

Making and keeping solid connections with DPs

Why the Colorist Society International is an important part of our community

His perspective on the reduced price of grading systems and its effect on the post production industry

On this episode of the Colorist Podcast, I talk with Peter Doyle, Senior Colorist at Technicolor London.

Peter has worked on some of the most popular films of all time like the Lord of the Rings Trilogy, Harry Potter films, and The Matrix. He has collaborated with major directors, Tim Burton, The Coen Brothers, and The Wachowski Siblings.

Peter helped pioneer the digital intermediate process we use today, working with a groundbreaking software package then known as “Colossus.” This would later evolve into Autodesk Lustre, and is used on many big budget films today.

The look of his projects can be vastly different. From the hyper saturated look of Charlie and The Chocolate Factory, to the bleak and faded style of Inside Llewyn Davis, Peter is constantly pushing the boundaries of color grading.

Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>This episode is sponsored by Colorist Society International and Mixinglight.com.

On this episode of the Colorist Podcast, I talk with Peter Doyle, Senior Colorist at Technicolor London.

Peter has worked on some of the most popular films of all time like the Lord of the Rings Trilogy, Harry Potter films, and The Matrix. He has collaborated with major directors, Tim Burton, The Coen Brothers, and The Wachowski Siblings.

Peter helped pioneer the digital intermediate process we use today, working with a groundbreaking software package then known as “Colossus.” This would later evolve into Autodesk Lustre, and is used on many big budget films today.

The look of his projects can be vastly different. From the hyper saturated look of Charlie and The Chocolate Factory, to the bleak and faded style of Inside Llewyn Davis, Peter is constantly pushing the boundaries of color grading.

Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>40:59cleanEpisode 008: Dale GrahnTue, 17 Jan 2017 02:11:11 +0000On this episode of The Colorist Podcast, I talk with veteran film color timer, Dale Grahn. Long before films were colored using computers, Dale color timed movies, using the only technology available at the time: printer points and printer lights.

He is best known for pioneering the bleach bypass look of Saving Private Ryan, and he’s also worked on other huge films like Gladiator, Minority Report, The Ring, Die Hard, and Bram Stoker’s Dracula.

His work included animated films like The Lion King, Aladdin, Toy Story, and Beauty and the Beast, which required a different workflow that many timers avoided altogether.

He’s collaborated with the biggest names in the industry like Steven Spielberg and Joel Silver. Currently, he is a fellow of the Colorist Society International and has directed his energy towards recognition of colorists worldwide.

On the podcast, we talk about:

When he got his start as a color timer

How timing differs from color grading or telecine

Gaining the opportunity to time is first major film, Predator

The bleach bypass look and how it happened almost by mistake

Director's and Cinematographer's role in his work

Why animated films required a different approach

Creating looks with the limited tools available in color timing

Why printer points are still used today

Working without seeing the immediate results of color changes

How the Koji Color film emulation LUTs were developed

ACES and getting everything to live in one color space

His role in Colorist Society International, and why it’s important for colorists today

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>On this episode of The Colorist Podcast, I talk with veteran film color timer, Dale Grahn. Long before films were colored using computers, Dale color timed movies, using the only technology available at the time: printer points and printer lights.

He is best known for pioneering the bleach bypass look of Saving Private Ryan, and he’s also worked on other huge films like Gladiator, Minority Report, The Ring, Die Hard, and Bram Stoker’s Dracula.

His work included animated films like The Lion King, Aladdin, Toy Story, and Beauty and the Beast, which required a different workflow that many timers avoided altogether.

He’s collaborated with the biggest names in the industry like Steven Spielberg and Joel Silver. Currently, he is a fellow of the Colorist Society International and has directed his energy towards recognition of colorists worldwide.

On the podcast, we talk about:

When he got his start as a color timer

How timing differs from color grading or telecine

Gaining the opportunity to time is first major film, Predator

The bleach bypass look and how it happened almost by mistake

Director's and Cinematographer's role in his work

Why animated films required a different approach

Creating looks with the limited tools available in color timing

Why printer points are still used today

Working without seeing the immediate results of color changes

How the Koji Color film emulation LUTs were developed

ACES and getting everything to live in one color space

His role in Colorist Society International, and why it’s important for colorists today

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>39:49cleanEpisode 007: Ayumi AshleyThu, 15 Dec 2016 16:53:55 +0000On this episode of Colorist Podcast, I have a conversation with Ayumi Ashley. She is the co-founder of Mission Film and Design (MFDSF) in San Francisco, California. It's a boutique color, sound, and VFX facility, focusing mainly on commercials, music videos, and short films. She has completed work for North Face, Skyy Vodka, and Ben & Jerry's. Additionally, Silicon Valley clients like Adobe, Pinterest, and Square have also finished their work with her.

Ayumi started working as a freelance colorist while still attending college. Apple Color and the reduced price of DaVinci Resolve helped her hone her skills and enter the ranks of working colorists quickly. The combination of affordable grading platforms, higher demand for colorists, and minimal competition in her area, helped her and founding partner Matt Notaro start and run her own finishing company.

In this interview, we talk about:

• How she got started as a colorist • Why the 5D mk ii had such a profound impact in her market • The low cost of entry for color tools: is it a good thing? • Working in San Francisco and why there aren't many colorists there • Helping clients understand why they need a colorist • Running a facility and prioritizing the budget accordingly • Making her clients feel pampered and comfortable • Listening and performing live for your clients • How she uses remote reviews with Frame IO • Handing off her work to other colorists • Using Full DaVinci panels verses using the Tangent Element • How to draw on inspiration when your sessions are only three hours long • Working with software other than DaVinci Resolve

Mission Film and Design http://mfdsf.com/

Personal Page http://www.ayumiashley.com/

Twitter https://twitter.com/ayumash

Instagram https://www.instagram.com/aayummy/

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>On this episode of Colorist Podcast, I have a conversation with Ayumi Ashley. She is the co-founder of Mission Film and Design (MFDSF) in San Francisco, California. It's a boutique color, sound, and VFX facility, focusing mainly on commercials, music videos, and short films. She has completed work for North Face, Skyy Vodka, and Ben & Jerry's. Additionally, Silicon Valley clients like Adobe, Pinterest, and Square have also finished their work with her.

Ayumi started working as a freelance colorist while still attending college. Apple Color and the reduced price of DaVinci Resolve helped her hone her skills and enter the ranks of working colorists quickly. The combination of affordable grading platforms, higher demand for colorists, and minimal competition in her area, helped her and founding partner Matt Notaro start and run her own finishing company.

In this interview, we talk about:

• How she got started as a colorist • Why the 5D mk ii had such a profound impact in her market • The low cost of entry for color tools: is it a good thing? • Working in San Francisco and why there aren't many colorists there • Helping clients understand why they need a colorist • Running a facility and prioritizing the budget accordingly • Making her clients feel pampered and comfortable • Listening and performing live for your clients • How she uses remote reviews with Frame IO • Handing off her work to other colorists • Using Full DaVinci panels verses using the Tangent Element • How to draw on inspiration when your sessions are only three hours long • Working with software other than DaVinci Resolve

Mission Film and Design http://mfdsf.com/

Personal Page http://www.ayumiashley.com/

Twitter https://twitter.com/ayumash

Instagram https://www.instagram.com/aayummy/

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>32:19cleanEpisode 006: Rob BessetteTue, 15 Nov 2016 16:28:26 +0000Rob Bessette joins me on this episode of the Colorist Podcast. Rob is a senior colorist at Finish Boston and specializes in coloring commercials. With over 11 years of experience, Rob has had the opportunity to color spots for Toyota, Coca Cola, Sam Adams, Subway, Chili’s, Dunkin’ Doughnuts, and many others.

Rob became a colorist though a more traditional path. He worked his way up from the ground level while working at night, and then mentored with a seasoned colorist. For several years, he had the opportunity to learn telecine and graded a lot of film.

I first met Rob while he was working the Blackmagic Design booth at NAB. He had the experience of hearing people’s opinions from all over the world while demoing the latest software that he had to learn at a breakneck pace.

We talk about:

What drew him to working in commercials

How working with great directors and directors of photography shapes the way he grades

Strategies for working with food that will make you hungry

Opinions on working with the full panels and what he would change about them

Strategies for creating a great demo reel

How he uses social media for marketing and networking

Working the Blackmagic booth at NAB and learning the software in one day

Why the inexpensive price of entry for color grading is good for the industry

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>Rob Bessette joins me on this episode of the Colorist Podcast. Rob is a senior colorist at Finish Boston and specializes in coloring commercials. With over 11 years of experience, Rob has had the opportunity to color spots for Toyota, Coca Cola, Sam Adams, Subway, Chili’s, Dunkin’ Doughnuts, and many others.

Rob became a colorist though a more traditional path. He worked his way up from the ground level while working at night, and then mentored with a seasoned colorist. For several years, he had the opportunity to learn telecine and graded a lot of film.

I first met Rob while he was working the Blackmagic Design booth at NAB. He had the experience of hearing people’s opinions from all over the world while demoing the latest software that he had to learn at a breakneck pace.

We talk about:

What drew him to working in commercials

How working with great directors and directors of photography shapes the way he grades

Strategies for working with food that will make you hungry

Opinions on working with the full panels and what he would change about them

Strategies for creating a great demo reel

How he uses social media for marketing and networking

Working the Blackmagic booth at NAB and learning the software in one day

Why the inexpensive price of entry for color grading is good for the industry

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>44:28cleanEpisode 005: Terence CurrenMon, 17 Oct 2016 15:27:36 +0000In this episode, I talk with Terence Curren, a Colorist and Online Editor in Los Angeles. He’s known for unscripted television shows like Project Runway, True Life, Ghost Hunters, and many others.

He got his start at the well known post facility, Matchframe Video, as employee number one. At Matchframe, he was one of the first editors in LA to work with Avid Media Composer, Symphony, and DS. And to this day, he still colors and finishes his shows on a Symphony.

In 2002, after 16 years at Matchframe, he moved on to starting his own company, Alphadogs. Many LA post production professionals are familiar with Alphadogs from their monthly meet ups called The Editor’s Lounge. It’s been a hub for people to learn about new technologies, directly ask vendors questions, and socialize with other pros. It’s been a great resource for over 13 years and I’ve personally learned a ton from attending them.

In this interview, we talk about:

How his start in editing affects his approach to color

Running his own business from a colorist’s perspective

The commoditization of post production gear and how it changed the business

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>In this episode, I talk with Terence Curren, a Colorist and Online Editor in Los Angeles. He’s known for unscripted television shows like Project Runway, True Life, Ghost Hunters, and many others.

He got his start at the well known post facility, Matchframe Video, as employee number one. At Matchframe, he was one of the first editors in LA to work with Avid Media Composer, Symphony, and DS. And to this day, he still colors and finishes his shows on a Symphony.

In 2002, after 16 years at Matchframe, he moved on to starting his own company, Alphadogs. Many LA post production professionals are familiar with Alphadogs from their monthly meet ups called The Editor’s Lounge. It’s been a hub for people to learn about new technologies, directly ask vendors questions, and socialize with other pros. It’s been a great resource for over 13 years and I’ve personally learned a ton from attending them.

In this interview, we talk about:

How his start in editing affects his approach to color

Running his own business from a colorist’s perspective

The commoditization of post production gear and how it changed the business

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>35:21yesEpisode 004: Mark Todd OsborneThu, 15 Sep 2016 15:21:14 +0000In this episode, I talk with Mark Todd Osborne, a colorist in Los Angeles with over 18 years of experience. He has worked on films like Pirates of the Caribbean: At Worlds End, Bad Boys II, Hugo, Need for Speed, as well as many commercials and music videos.

Mark got his start at Company 3 and spent 11 years there working with top colorists Stefan Sonnefeld, Dave Hussey, and Mike Pethel.

He also spent some time at Cameron | Pace, working on stereoscopic projects on Quantel Pablo.

What’s most impressive about Mark’s career is ability to work in many different genres. Working in commercials, television, cinema, music videos, and even video games has been part of his successful career.

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>In this episode, I talk with Mark Todd Osborne, a colorist in Los Angeles with over 18 years of experience. He has worked on films like Pirates of the Caribbean: At Worlds End, Bad Boys II, Hugo, Need for Speed, as well as many commercials and music videos.

Mark got his start at Company 3 and spent 11 years there working with top colorists Stefan Sonnefeld, Dave Hussey, and Mike Pethel.

He also spent some time at Cameron | Pace, working on stereoscopic projects on Quantel Pablo.

What’s most impressive about Mark’s career is ability to work in many different genres. Working in commercials, television, cinema, music videos, and even video games has been part of his successful career.

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>40:44noEpisode 003: Gray MarshallMon, 15 Aug 2016 16:32:36 +0000In this episode of the Colorist Podcast, I talk with Gray Marshall, Associate Finishing Artist at Technicolor in Los Angeles. At Technicolor, Gray has worked on the films Bridge of Spies, The Revenant, Captain America: Civil War, Ant-Man, and many others.

But before making his way into color, Gray worked in many other parts of the industry. His roots were in the camera department of Star Trek: The Next Generation, and later went on to being a VFX supervisor and owning his own company, Gray Matter Post. Gray is probably best known for epic VFX shots like the building collapse at the end of Fight Club. Working in all these different departments has given him a unique perspective on the industry.

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>In this episode of the Colorist Podcast, I talk with Gray Marshall, Associate Finishing Artist at Technicolor in Los Angeles. At Technicolor, Gray has worked on the films Bridge of Spies, The Revenant, Captain America: Civil War, Ant-Man, and many others.

But before making his way into color, Gray worked in many other parts of the industry. His roots were in the camera department of Star Trek: The Next Generation, and later went on to being a VFX supervisor and owning his own company, Gray Matter Post. Gray is probably best known for epic VFX shots like the building collapse at the end of Fight Club. Working in all these different departments has given him a unique perspective on the industry.

This episode is sponsored by mixinglight.com. Use the coupon code josh10 for 15% off your first quarterly term or josh40 for 15% your first annual term.

]]>43:24cleanEpisode 002: Kevin ShawMon, 11 Jul 2016 20:42:24 +0000On this episode of The Colorist Podcast, I talk with Kevin Shaw, CSI. Kevin is the Senior Colorist at Final Frame, London and a 30 year veteran of the industry. His commercial credits include work for IKEA, Jaguar and Levis, as well as the movies “Monsters” and “Streetdance 3D.” In addition to his work as a colorist, Kevin is a founding member of the Colorist Society International, as well as a trainer for ICA.

We discuss some misconceptions about HDR and grading, doing VFX in the color bay, and why the Colorist Society was formed.

]]>On this episode of The Colorist Podcast, I talk with Kevin Shaw, CSI. Kevin is the Senior Colorist at Final Frame, London and a 30 year veteran of the industry. His commercial credits include work for IKEA, Jaguar and Levis, as well as the movies “Monsters” and “Streetdance 3D.” In addition to his work as a colorist, Kevin is a founding member of the Colorist Society International, as well as a trainer for ICA.

We discuss some misconceptions about HDR and grading, doing VFX in the color bay, and why the Colorist Society was formed.

]]>49:11cleanEpisode 001: Lynette DuensingWed, 15 Jun 2016 18:16:31 +0000Joining me on the first episode of The Colorist Podcast is Lynette Dunsing. Lynette is the senior colorist at Cinelicious where she colors everything from commercials to documentaries. She has worked in numerous locations: Los Angeles, Detroit, Chicago and China. She has colored music videos for Nirvana and Metallica and television shows like Star Trek and Law and Order. We talk about where the industry has been and is going, the business of being a colorist, and how coloring is different is other countries.

]]>Joining me on the first episode of The Colorist Podcast is Lynette Dunsing. Lynette is the senior colorist at Cinelicious where she colors everything from commercials to documentaries. She has worked in numerous locations: Los Angeles, Detroit, Chicago and China. She has colored music videos for Nirvana and Metallica and television shows like Star Trek and Law and Order. We talk about where the industry has been and is going, the business of being a colorist, and how coloring is different is other countries.